The artistic exchanges between the Philippines and Australia is not only about art, but also “serves as an argument for cultural policy that sparks a new kind of dynamism”. Lies, Magicians and Blind Faith follows this idea, showing at Queensland Art Gallery.
The South African-born, Stockholm-based artist has been travelling the world recording the prayers of various faith groups and exhibiting the results—now it’s the Tasmanian Museum and Art Gallery’s turn.
“Few tasks are more like the torture of Sisyphus than housework…” wrote French feminist philosopher Simone de Beauvoir. Adelaide-based artist Zoe Freney mentions this quote when talking about Work from Home at Newmarch Gallery.
Ochre Painters of the Kimberley at Japingka Aboriginal Art features paintings from the likes of Jack Britten, Shirley Purdie, Queenie McKenzie and Rover Thomas—and many works have never been publicly displayed until now.
The last few years have been characterised by grief and loss, alongside an unwavering hope for a flourishing future—it’s a dichotomy many artists are trying to capture, which Sam Jinks does exquisitely in his latest show at Sullivan+Strumpf Melbourne.
From posters to fanzines to personal letters, Unpopular at Powerhouse Museum is a homage to global 1990s bands like Nirvana, Pavement, Fugazi, Rancid, The Amps and Sonic Youth, delving into the archives of veteran music entrepreneur Stephen Pavlovic.
“She hasn’t gone to art school or locked herself into a style. She has used painting, drawing, ceramics and even performance to explore different ideas relating to her engagement with the world.” Robyn Bischoff’s latest abstract works are showing at Bunbury Regional Gallery.
From climate change to the simple respite of a frosty ice cream on a boiling summer day, Swelter at Caboolture Regional Art Gallery shows how artists filter this country’s extreme heat.
The art of storytelling has been integral to Chinese culture and history for thousands of years—and White Rabbit Gallery is exploring how contemporary artists are keeping this timeless practice alive, especially in today’s digital age.
Niloufar Lovegrove’s beguiling prints at Artspace Mackay show a deft fusion of cultures that not only allows profound new perspectives on environmental crises, but is also a self-exploration.
From her feminist prints and posters of the 1970s to her later landscape paintings, Mandy Martin’s (1952-2021) retrospective at Geelong Gallery shows her long-term fight for the Australian environment.
For better or worse, data is intrinsic to modern life. In recent months with various data breach scandals, Australians have been reminded of its omnipresence— and in Data Relations at the Australian Centre for Contemporary Art, artists explore how data manifests both personally and societally.
